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Sacrati Francesco Paolo SACRATI FRANCESCO PAOLO Compositore italiano (Parma inizio XVII sec. - Modena 20 V 1650) Forse allievo di F. Manelli, nel 1639 inaugurò a Venezia il teatro di San Giovanni Paolo con l'opera Delia e nel 1641 il teatro Nuovissimo con La finta pazza. Quest'opera riscosse un notevole successo e fu scelta per essere rappresentata (1645) a Parigi, al Palais du petit Bourbon, da una compagnia italiana invitata dal cardinale Mazarino. Fu questa la prima opera italiana rappresentata a Parigi, che iniziò il vasto movimento di diffusione dell'opera italiana in Francia ed in Europa. La finta pazza entrò subito nel repertorio di una celebre compagnia lirica italiana, i Febi Armonici (di cui lo stesso Sacrati fece forse parte dal 1645 al 1648 come compositore) che la rappresentarono in diverse città. Nel 1649 Sacrati si stabilì a Modena dove divenne maestro di cappella del duca. Celeberrimo ai suoi tempi, Sacrati, accanto a F. Manelli, P. F. Cavalli e Monteverdi, fu uno dei più noti iniziatori del teatro lirico veneziano. Oggi però è impossibile valutare la sua opera perché nessuna delle sue partiture ci è pervenuta: fu comunque certamente un tipico rappresentante dello spettacolo macchinoso ed imponente del primo periodo del teatro veneziano. 1091 La Finta pazza di Francesco Sacrati (1605-1650) libretto di Giulio Strozzi Dramma per musica in un prologo e tre azioni Prima: Venezia, Teatro Novissimo, 14 gennaio 1641 Personaggi: la Fama (S), l’Aurora (S), Ulisse (A), Diomede (T), Giunone (S), Minerva (S), Tetide (T), Achille (A), Deidamia (S), la Vittoria (S), Giove (B), Licomede (B), Eunuco (T), Vulcano (B), la nutrice (T), una donzella (S), il capitano della guardia (B); isolani, damigelle di corte, dèi, menti celesti, pazzerelli buffoni La Finta pazza inaugurò il quarto teatro veneziano attivo all’inizio degli anni Quaranta del Seicento, il Novissimo, dalla breve ma densa e importantissima storia, costruito espressamente per «opere eroiche, solamente in musica, e non commedie» e patrocinato dai membri dell’Accademia degli Incogniti. Il successo dell’opera era stato opportunamente sollecitato ed alimentato: alla realizzazione erano stati chiamati il librettista Giulio Strozzi, esperto collaboratore di Monteverdi, lo scenografo Giacomo Torelli, in seguito attivo in Francia al servizio della regina, il compositore ed impresario parmense Francesco Sacrati, spesso paragonato a Monteverdi e possibile coautore dell’ Incoronazione di Poppea , e la prima ‘diva’ della storia del teatro d’opera pubblico, Anna Renzi. L’intero libretto (non solo lo ‘scenario’, cioè il riassunto) venne pubblicato, in via eccezionale, prima del debutto dello spettacolo, ulteriormente descritto in un’elaborato resoconto a stampa del genovese Maiolino Bisaccioni, Il cannocchiale per la finta pazza . L’azione è divisa in tre parti, denominate «protesi», «epitasi» e «catastrofe», precedute da un prologo che, nel libretto veneziano, è 1092 cantato dal «Consiglio improviso» (alla prima rappresentazione fu interpretato da un castrato). Achille è nascosto, sotto le vesti di Filli, presso il re Licomede di Sciro: la madre Tetide non vuole che il figlio partecipi alla guerra di Troia e per questo cerca di contrastare Giunone e Minerva. Divenuto amante segreto della figlia di Licomede, Deidamia, con la quale ha generato un figlio, Achille viene facilmente smascherato da Ulisse e Diomede, giunti nell’isola sulle sue tracce. Straziata dal pensiero di essere abbandonata da Achille, Deidamia si finge pazza per costringerlo a rimandare la partenza e a sposarla. Nella lunga scena che termina l’azione seconda, ella sfida i presenti e li chiama in battaglia, finge di essere Elena di Troia, istiga il coro a cantare (e Diomede commenta con gli spettatori: «Il diletto è qui tutto/ al canzonar rivolto:/ d’un secolo cantante/ è forza secondare/ il lieto humor peccante»), finge di affogare, parodizza un lamento e chiama tutti i pazzi a danzare. L’opera inaugura la lunga fortuna di travestimenti e scambi d’identità sessuale sui palcoscenici veneziani del Seicento. L’eroe Achille è presentato sotto le vesti di un’ancella e l’ambiguità era tanto più riuscita in quanto il suo primo interprete, a detta di Maiolino Bisaccioni, era «un giovanetto castrato venuto da Roma (...) di vago aspetto sì che sembrava un’Amazzone, ch’avesse misti i spirti guerrieri con le delicatezze femminili». Al rude Achille del libretto di Giulio Strozzi lo scambio di identità non va molto a genio, quando confessa (II,2): «io per me non vedea l’ora/ di tornar maschio guerriero». Egli però riconosce subito dopo, senza scandalizzarsi troppo, che altri non la penserebbero così e «resterian femmine ogn’ora», in quanto è pur sempre una cosa «dolce» il «cambio di Natura»: «quanti invidiano il mio stato/ per far l’uomo e la donzella?». Lo prenderà alla lettera, poco tempo dopo, il personaggio transgender Ermafrodito ne Gli amori di Giasone e Isifile di Marco Marazzoli (Venezia 1642), che canta: «M’addoppiasti il diletto/ Natura ti ringrazio/ Passando di Donzella in pargoletto/ mi rinovo il piacer quando son sazio,/ e fo con doppio spasso/ in Musica d’Amor soprano e basso». (Molto meno imbarazzato dal fatto di indossare la gonna sarà il protagonista dell’ Achille in Sciro di Metastasio, che si spingerà addirittura a sedurre il proprio rivale alternando timidezza e scontrosità, e prendendoci gusto: un po’ come la strepitosa Dafne-Jack Lemmon in A qualcuno piace caldo di Billy Wilder.) 1093 La finta pazza non è solo importante per il suo disinvolto ‘transgenderismo’, ma anche perché contiene la prima scena di pazzia pervenutaci in un melodramma. Preceduta dalla mai rappresentata Finta pazza Licori di Monteverdi, sempre su libretto di Giulio Strozzi, la follia di Deidamia costituiva il pezzo forte dello spettacolo e proverbiale rimase la bravura della star Anna Renzi, per la quale la parte fu creata. Negli sproloqui surreali di Deidamia, esemplati sulle scene di pazzia delle commedie dell’arte, il cambiamento improvviso di affetti e situazioni immaginate, e l’accozzaglia apparentemente disordinata che ne deriva, riflettono tutti i luoghi tipici del melodramma veneziano, celebrato come nuova fonte di divertimento. Continuamente l’illusione scenica si spezza e, come avviene di frequente in altri passi del libretto, il personaggio cita direttamente la realtà-finzione dello spettacolo di cui è attore: «Che melodie son queste?/ Ditemi? Che novissimi teatri,/ che numerose scene/ s’apparecchiano in Sciro?», chiede stupita Deidamia (III,2). Francesco Sacrati è abile nel rendere le diverse sfumature del recitativo, piegato ad esigenze drammatiche ed a effusioni melodiche spesso organizzate in numeri chiusi. Nella scena di pazzia, arpeggi e ritmi marziali ossessivi conducono all’imitazione delle parole bellicose pronunciate dalla protagonista; il recitativo s’interrompe due volte, prima per un breve arioso e poi per l’aria-lamento nei pressi del finale, su versi sdruccioli (come d’obbligo, dato il macabro contenuto); altre puntigliose imitazioni delle parole del testo sono ottenute con sbalzi di tessitura: nella traduzione della pazzia, il compositore segue fedelmente le prescrizioni monteverdiane contenute in una celebre lettera (7 maggio 1627) riguardante la Finta pazza Licori . La Finta pazza può essere considerata come l’opera più rappresentativa della prima fase del melodramma secentesco veneziano, per l’astuta consapevolezza del suo lancio commerciale e per il successo di un modello replicato poi infinite volte: addirittura se ne fece un ricalco nel titolo della Finta savia , primo ‘pasticcio’ operistico, che Giulio Strozzi imbastì per svariati compositori. La Finta pazza entrò stabilmente nel repertorio delle compagnie itineranti che portarono il melodramma in tutta Italia, negli anni successivi alla prima veneziana, col nome di Accademici Febiarmonici o 1094 Accademici Discordati: venne rappresentata in varie città italiane (Piacenza, Bologna, Firenze, Genova, Reggio Emilia, Torino, Milano e Napoli) ed anche a Parigi (primo esempio di teatro musicale italiano ad affermarsi nella capitale francese). Nell’ottobre del 1984 Lorenzo Bianconi ha scoperto la partitura di una versione successiva al debutto veneziano (nell’archivio musicale dei principi Borromeo, all’Isola Bella); questo ha reso possibile la revisione (curata dallo stesso Bianconi e da Luciano Sgrizzi) e la ripresa in epoca moderna, al Teatro La Fenice di Venezia nel luglio 1987 (con Marina Bolgan, Jeffrey Gall e Carlo Gaifa, direttore Alan Curtis, regia di Marise Flach), in un allestimento basato sulle scene ideate nel 1645 da Giacomo Torelli per la rappresentazione di Parigi. 1095 .
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